Verse for Today

For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future. 12 Then you will call on me and come and pray to me, and I will listen to you. 13 You will seek me and find me when you seek me with all your heart. 14 I will be found by you,” declares the LORD, “and will bring you back from captivity.Jeremiah 29:11-14

Monday, February 14, 2011

There were some great suggestions for the new name of the technique I have been experimenting with for this past year - and some were downright silly! People sent emails, posted comments on my Facebook page, and commented here at the blog.

We were searching for something simple, a one or two word description that was not too difficult to remember, yet very descriptive of the technique. I can tell that most of you read the blog entry describing the technique - thanks so much! The technique is modeled after Jean Grasdorf's "pouring" technique, except I don't actually "pour" the paint as Jean does. We wanted a name that would differentiate my method from hers.

Ken and I decided to give Pete Myers, of Oxford, Michigan the print, since he is the closest to our parameters for making the final decision. We will use his term with an addition of one word to make the technique name clear, concise and easy to remember. The small print is of "Cocoa Village Shadows", one of my most recent paintings employing this technique. It is matted and ready to frame.

Again, thanks to everyone for participating. I'll try to have more fun events like this in the future, so stay tuned. Watch for future posts of more paintings created with my "Macro Layering" technique!!!

Wednesday, February 9, 2011

Introducing "Bicycle Shadows", one of my latest works. It was created on a half sheet of Arches 140 pound paper. This piece, as most of my latest work, was "poured".A friend recently suggested that I come up with a different name for my process than "poured", as I don't really pour the paint. To create these works I use a value scale of 1 through 6, 1 being white and six being the closest color to black I can create from the colors on my palette.I first create the drawing, trace the pencil sketch and then do a value study in various shades of gray and black marker. Then I transfer the drawing to my watercolor paper and mask the white areas. At this point I wet the entire sheet of paper with a puddle of water and allow it to soak in for a few minutes. Then, using a large round brush, either 14 or 16, I dip into the paint on my palette and dribble and stroke it gently onto the very wet paper. I use three primary colors for each application: my favorites are New Gamboge, Quinacridone Magenta, and French Ultramarine Blue. I apply the colors next to one another, not directly on top of one another, then I tip the board that holds my paper (I tape the paper to a foam core board with 2-inch masking tape) and I allow the colors to gently blend a little. The first application provides the 2 and 3 levels of value on my painting.As I proceed through the painting I allow this to dry completely - usually overnight. Then, I mask the level two and three values that I want to save, and again wet the paper and apply the pigments. Each time I apply stronger and stronger pigments, never brushing to disturb the layers of paint below. I continue on with the process: dry, apply masking, wet the paper, apply the pigment. This continues until I reach those darkest values of deep color.It's a fun, messy, and time-consuming process that produces colors and glow that I have not been able to achieve in any other manner.If you have any ideas for a name for this technique I would love to hear them. My husband and I will go over the suggestions and if we pick yours, I will send you a small print of one of my paintings using this technique!I would love to hear from you!

Thursday, February 3, 2011

Ah, it has been too long...This piece is five by five inches, and it is watercolor on canvas. Yes...on canvas. I've been playing with pouring watercolor, well, I splatter more than I pour, but I have been experimenting with this technique on canvas also. So much fun.

The canvas must be treated with a white absorbent ground, then it will accept the watercolor pigments and even masking fluid beautifully. Once the painting is completed it must be sprayed with a UV clear coat to protect it.

One feature I love about the completed paintings executed on canvas is that the paint drips over the edge and creates beautiful color blends on the sides of the gallery-wrapped canvas. They are too pretty to cover with a frame!